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IteStaiHnjlrt 

19  0 7 

Below  we  olFer  a partial  list  of  the  painters 
to  be  considered  during  1907.  The 
remaining  subjects  will  be  of 
no  less  interest  than 
those  here  an- 
nounced 

SIR  THOMAS  LAWRENCE, 

President  of  the  Royal  Academy  and  painter 
to  the  king,  was  the  most  popular  portraitist 
of  his  day  in  England. 

LA  TOUR, 

Famous  French  pastellist  of  the  court  of 
Louis  XV.,  whose  portraits  are  marvels  of 
exquisite  color  and  sure  yet  delicate  touch. 

.lULES  BRETON, 

Painter  and  poet,  who  achieved  popularity  and 
Success  by  his  pictures  of  the  customs  and 
avocations  of  the  peasantry  of  France. 

FILIPPINO  LIPPI, 

Son  of  Fra  Filippo  Lippi  and  pupil  of  Botti- 
celli, who  “came  closer,"  it  has  been  said, 
“to  the  modern  spirit  than  any  other  painter 
of  the  fifteenth  century.” 

RUISDAEL, 

One  of  the  greatest  of  Dutch  landscape- 
painters,  whose  compositions  ot  woods,  glens, 
and  mountain  torrents  are  full  of  a poetic 
melancholy. 

TENIERS 
The  Younger, 

The  Flemish  painter  of  tavern  scenes,  whose 
brilliant  palette  and  skilful  technique  rivaled 
those  of  his  Dutch  contemporaries. 

Subscription,  $1.50  in  advance 


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Benvenuto  Cellini 

Translated  into  English  by  John  Adding- 
ton Symonds,  with  an  elaborate  In- 
troduction by  Royal  Cortissoz 

A luxurious  new  edition  of  Benvenuto  Cellini’s  Au- 
tobiography and  one  of  the  most  fascinating  classics  of 
European  literature.  This  handsome  edition  has  been 
planned  to  meet  the  requirements  of  both  the  student 
and  the  collector. 

“A  book  which  the  great  Goethe  thought  worthy  of 
tr.ansl.ating  into  German  with  the  pen  of  Faust  and  Wil- 
helm .Meister,  a book  which  Auguste  Comte  placed  upon 
his  very  limited  list  for  the  perusal  of  reformed  human- 
ity, is  one  with  whicli  we  have  the  right  to  be  occupied, 
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pages  still  remains  there.  The  adventures  of  this  potent 
human  actuality  will  bear  comparison  with  those  of  Gil 
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w.ard,  or  Les  Trois  Mousquetairs,  for  their  variety  and 
their  pungent  interest.”  — John  Addington  .Stmonds. 
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Some  Beauties  of  the  Seven- 
teenth Century 

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tense,  Duchess  of  Mazarin,  of  whom  it  was  written, 
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miliar details  of  the  lives  of  women  who  impressed  their 
individuality  on  history,  ending  with  Mlle.de  la  Val- 
liereandthe  Marchioness de  Montespan.  Tothe  woman 
of  leisure  as  well  as  the  man  of  state  affairs  these  his- 
torical characters  will  appeal.  Cloth  binding.  82  illus- 
trations. iSi.OOnet;  express  extra. 

Decorative  Art  in  America 

By  Oscar  Wilde 

A lecture,  together  with  Letters,  Reviews,  and  Inter- 
views in  criticism  of  Art,  Literature,  and  the  Drama, 
by  Oscar  Wilde,  appearing  now  for  the  first  time  in  book 
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an  Introduction  and  Notes  by  Richard  Butler  Glaen- 
zer.  i2mo,  cloth.  Sl.SOnet;  by  mail,  SI .63. 

The  Picture  of  Dorian  Gray 

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BY  CHARLES  H.  CAFFIN 

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nesses and  differences  between  the  two  pictures  and  the  methods  of  the  two  painters.  Incidentally,  a 
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raphy, and  the  development  of  the  pictorial  art  from  the  time  of  the  Renaissance  to  our  own  day, — 
from  Cirnabue  and  Giotto  to  Rossetti,  Holman  Hunt,  Whistler,  and  Sargent. 

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O F TOU  R AI  N E 

The  Text  by  MARIA  HORNOR  LANSDALE, 
Illustrations  in  Color  by  JULES  GUERIN  and  in 
Black  and  Tint  from  Photographs. 

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by  Edith  Wharton,  with  Illustrations  by  Maxfield  Parrish. 

A superb  Iviliday  gift-book  and  one  of  vivid  interest,  in  which  the  reader  is  made  to  live  again  through 
the  stirring  events,  the  joys  and  sorrows  of  the  dead-and-gone  kings  and  queens  identified  with  the  early 
days  of  these  chateaux  of  Touraine.  The  personal  element  is  happily  made  much  of; — one  reading  of 
these  pages,  and  Plessis-les-Tours,  Loches,  Chinon,  Langeais,  Amboise,  Blois,  Luynes,  Chenonceaux, 
Azay-le-Rideau,  Chaumont,  Chambord,  and  Cheverney  can  never  again  be  only  names. 

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THE  WATER  COLOR  SKETCHES 
OF  J.  M.  W.  TURNER  in  the  Na- 
tional Gallery 

An  Edition  de  Luxe,  consisting  of  58  facsimile  Repro- 
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JOY,  GEORGE  W.,  The  Work  of 

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THE  ART  ^ PORTRAIT  PAINT- 
ING 

By  t N COLLIER.  A Practical  Treatise, 

for  the  Professional  Painter,  on  the  Art  of 

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FRENCH  PORCELAIN 

By  E.  S.  AUSCHER,  translated  by  WILLIAM  BUR- 
TON. 24  Plates  in  Colors,  48  in  Black  and  White,  with 
Numerous  Reproductions  of  the  Various  Marks.  Royal 
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on  such  a subject  as  Mr.  Solon.  A Frenchman  by  birth, 
an  artist-potter  of  world-wide  repute,  and  an  acknowledged 
authority  on  the  history  of  ceramics,  his  views  will  be  wel- 
comed by  every  lover  of  French  pottery. 

ENGLISH  EARTHENWARE  AND 
STONEWARE 

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ONE  OF  THE  MOST  DISTINGUISHED  BOOKS  OF  THE  YEAR 

WHISTLER 

A STUDY 

BY  ELISABETH  LUTHER  CARY 


This  rich  and  beautiful  book  surveys  the  field  of  Whistler’s  ac- 
complishment, embodying  an  account  of  his  methods  so  far  as 
they  may  be  made  clear  to  the  general  reader. 

Miss  Cary’s  remarkable  insight  and  rare  critical  abilities,  com- 
bined with  her  unusual  capacity  to  interpret  art,  even  in  its  more 
elusive  aspects,  to  the  appreciative  mind  unskilled  in  the  refine- 
ments of  criticism,  are  here  illustrated  at  their  best,  resulting  in  a 
volume  of  great  distinction.  The  manuscript  was  pronounced,  by 
a distinguished  specialist,  the  best  book  on  Whistler  yet  written. 

It  is  accompanied  by  a list  of  Whistler’s  known  works. 

Illustrated  with  many  exquisite  reproductions  of  etchings,  lithographs,  pastels, 
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net  (expressage  extra) 

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boxed.  Price,  $15.00  net. 

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MASTKKS  IN  AIM'  JM.A'IE  I 

PHOTOGRAPH  BY  HANFSTAENGL 

[4r.5] 


KH  A N(  l A 

TIIK  MADONNA  nF  I’ltl';  HOSI-:  (;AKDEN 
MUNU'II  ( 


ADDKI 


MASTKHS  IN  AllT 

PHOTOGRAPH  B HANf 

[ 4(i7  ] 


FHANC'I  A 

MAl)t)NNA,  (AlIMl,  AA’Il  ANGKLS 
juuNicu  (;ai.i,khy 


MAS'I'KUS  IN  AKT  PTiArK  III 


photograph  by  BRAUN,  CLEMENT  & CIE 

[ 4(><J  ] 


vn  A M'.l  A 

TII  M A X N I'  i\<  .1  A riON 

CONIM'1  MI'Sl'H’M.  i:ilAN'l'lM-Y 


IJASTKHS  IN  AKT  VJjATE  IV 

PHOTOGRAPH  BY  HANFSTAENQL 

I 471] 


KUANC.I  A 

THE  HA  I’riSiM  OK  ClllllST 
HOVAI,  II  AI.I.KKY  , IIHKSIIEN 


MASTKHS  IN  AKT  PIRATE  V 
photograph  by  ALINARI 

[47*3] 


Tiii<:  UK  Till';  f.iniin 

JtOVAI,  CAMiKliY.  HOTJKiXA 


MASTERS  IN  AKT  IVEATP:  VI 

fROM  A PMOTOGRAV  JRE  IN  ' THE  BURLINGTON  MAGAZINE  » 

[ 475  ] 


FHANCIA 

POJ(TKAIT  OK  Kl'IOKHKiO  OON/.AIIA 
HY  A.  VV.  1,EAT1IAM,  KSll..  MISKKDEN  1‘AHK,  KNliOANI) 


OWNED 


MASTIOHS  IN  AK'J'  PI.ATK  VII 

photograph  by  ANDERSON 
[477] 


KU  A Mr, I 

TIIK  nrxJ'ivnri.m  a i.ta  it-i>i  Ki'K 
Ciuiurll  OK  .SAN  rlAOn.MO  M.MPOIIHIO,  linl.lH.NA 


mastp:ks  in  aut  pt.a'I'i 


FROM  A REPRODUCTION  ■ 


8URLINGTON 


POH'I'UAIT 


niANr-iri  ni 
•:SU.,  liONDOJ 


[4-p] 


i>rii\c, 


MASTRHS  IN  A H'l’  I'l.ATK  IN 


PHOTOGRAPH  BY 


l'‘UANr,TA 

M A 1)1  )N  N A AND  i M I I A) 

nolii  i II  I'lSK  (;aiaa;uy.  kom. 


[ ] 


POHTRAIT  OF  FHANCIA  BY  III.VISRr.F  KOYAR  GALLERY,  BOLOGNA 

According  to  a generally  accepted  tradition,  Francia  introduced  his  own  likeness  in 
the  features  of  his  patron  saint,  St.  Francis,  who  stands  with  folded  hands  to  the  left 
of  his  painting  of  ‘The  Adoration  of  the  Child.’  It  is  this  portrait  which  is  here 
rep.oduced.  The  whole  picture  is  given  in  plate  v of  the  present  number  of  this  series. 

[4!u] 


MASTERS  IN  ART 


franccjsco  Di  jHarco  D(  d^iacomo  EaiboUni 

CALLED 

t*  a n c ( a 

BORN  1450:  DIED  15  17 
SCHOOL  OF  BOLOGNA 


Francesco  di  marco  di  giacomo  raibolini,  commonly 

called  Francia  (pronounced  Fran'chah),  was  born  in  Bologna  in  the  year 
1450.  His  parents,  spoken  of  by  Vasari  as  “artisans,”  were,  as  a matter  of 
fact,  people  of  somewhat  more  distinction  than  that  term  would  imply,  for 
they  belonged  to  old  and  well-known  families  in  Bologna,  members  of  which 
had  for  several  generations  filled  important  offices  of  government,  and  had 
owned  land  in  the  commune  of  Zola  Predosa  from  as  early  a date  as  1308.  At 
the  time  of  Francia’s  birth,  however,  the  family  circumstances  were  not  pros- 
perous, although  the  name  of  his  father,  Marco  di  Giacomo  Raibolini,  con- 
tinued to  be  held  in  high  repute  and  appears  in  the  civic  records  as  that  of  the 
holder  of  various  positions. 

When  the  boy  was  old  enough  to  learn  a trade  he  was  apprenticed  to  a gold- 
smith, preferring  to  learn  to  work  in  metals  rather  than  to  follow  the  calling 
of  his  father,  who  was  a wood-carver.  Now  the  name  of  this  goldsmith  was 
Due,  but  as  he  was  generally  called  Francia.  the  pupil  also  came  to  be  called 
by  that  name,  and  as  such  he  is  best  known  in  bistory. 

Vasari  says  that  the  young  Francia  labored  at  his  craft  with  ability  and 
good-will,  and  that  “his  progress  in  his  art  kept  proportion  with  his  increase 
of  stature,”  and  adds  that  “his  manner  and  conversation  were  so  gentle  and 
obliging  that  he  kept  all  around  him  in  good  humor,  and  had  the  gift  of  dis- 
sipating the  heavy  thoughts  of  the  most  melancholy  by  the  charms  of  his  con- 
versation ; for  these  reasons  he  was  not  only  beloved  by  all  who  were  acquainted 
with  him,  but  in  the  course  of  time  he  obtained  the  favor  of  many  princes  and 
nobles,  Italian  and  others.” 

Francia’s  labors  were  rewarded  by  success.  His  fame  as  a worker  in  metals 
extended  beyond  the  confines  of  his  native  town,  and  orders  came  to  him  from 
Ferrara,  Mantua,  Parma,  and  round  about;  even  in  Florence  his  skill  was 
[ 4 8 5 ] 


24 


MASTERS  IN  ART 


recognized  and  highly  prized.  Vasari  tells  us  that  he  took  much  pleasure  in 
design,  but  that  what  delighted  him  above  all  else  was  cutting  dies  for  medals. 
In  this  he  excelled,  and  in  some  instances,  notably  in  medals  executed  for 
Pope  Julius  II.  and  for  Giovanni  Bentivoglio,  ruler  of  Bologna,  the  heads  of 
those  magnates,  with  which  the  medals  were  decorated,  were  so  fine  that  they 
“seemed  to  he  alive.” 

But  fine  as  were  these  medals,  it  was  not  as  a medalist  alone  that  Francia 
was  skilled,  but  also  as  a worker  in  “niello”  — a method  of  decorating  a 
smooth  metal  surface  with  incised  lines  filled  in  with  a black  substance  com- 
posed of  a number  of  chemicals.  When  polished,  the  black  lines  remained 
on  a light  ground,  producing  a highly  decorative  effect.  Niello  work  was  very 
popular  in  Italy  in  the  fifteenth  and  sixteenth  centuries,  and  Francia  acquired 
a reputation  for  the  exquisite  delicacy  of  the  “nielli”  he  produced.  Some- 
times prints,  or  engravings  on  paper,  were  made  from  a cast  of  the  work 
while  in  progress,  and  there  are  still  in  existence  some  nine  or  ten  niello- 
engravings  which  with  good  reason  can  be  ascribed  to  Francia’s  hand. 

Besides  his  skill  as  a worker  in  gold  and  silver,  the  artist  also  attained  celeb- 
rity as  a maker  of  jewelry  and  a designer  and  founder  of  type.  Fie  was,  in- 
deed, the  first  to  produce  for  the  great  printer,  Aldus  Manutius,  the  famous 
“italic”  type,  which  was  so  highly  prized  that  a special  letter  of  privilege  was 
given  by  the  pope  to  Aldus  granting  him  the  sole  right  to  its  use — a privilege, 
however,  which  did  not  prevent  its  being  copied  in  many  parts  of  Italy  and 
in  France. 

Calvi,  who  wrote  a brief  life  of  Francia  in  1812,  states  that  he  matriculated 
in  the  Goldsmith’s  Gild  of  Bologna  in  1482,  and  that  in  the  following  year  he 
was  appointed  master  of  that  same  gild.  It  also  stands  recorded  that  in  De- 
cember of  the  year  1482  he  was  named  Gonfaloniere  del  Popolo  and  Tribuni 
della  Plebe,  and  that  by  Giovanni  Bentivoglio,  ruler  of  Bologna,  he  was  ap- 
pointed Director  of  the  Mint,  an  office  which  he  held  as  long  as  he  lived; 
from  all  which  it  will  be  seen  that  Francia  stood  high  in  the  estimation  of  his 
fellow-citizens. 

Not  until  he  was  past  thirty  years  of  age  did  the  artist  turn  his  attention  to 
painting.  The  date  is  not  known,  but  in  a document  of  i486,  recording  his 
taking  office  in  the  Gild  of  Goldsmiths,  he  is  referred  to  as  “il  pittore  il 
Franza,”  and  it  is  therefore  clear  that  he  had  then  started  on  his  new  career. 

Vasari  attributes  this  departure  to  an  acquaintance  with  Mantegna  and 
other  painters  “who  had  acquired  riches  and  honors  by  means  of  their  art,” 
and  says  that  Francia’s  ambition  was  so  stimulated  thereby  “that  he  resolved 
to  try  whether  he  could  not  succeed  in  that  part  of  painting  which  belongs  to 
color,  seeing  that  he  had  reached  to  such  a point  in  design  that  he  might  safely 
assume  a place  beside  any  of  them.  By  way  of  making  an  attempt,  therefore, 
he  executed  a few  portraits  and  other  small  things,  entertaining  many  masters 
of  the  art  many  months  in  his  house  to  the  end  that  they  might  teach  him 
the  method  and  processes  of  coloring.” 

That  Francia  may  have  become  acquainted  with  Mantegna  about  1472  is 
quite  possible,  but  no  record  of  a meeting  with  the  great  Mantuan  painter 
[486] 


F R ANCI  A 


25 


exists,  and  as  a matter  of  fact  we  are  without  any  definite  knowledge  of  the 
influence  which  led  Francia  to  turn  his  attention  to  painting.  Nor  do  we  know 
with  certainty  who  was  his  first  master.  Early  writers  state  that  he  was  a 
pupil  of  Marco  Zoppo,  a Bolognese  artist  who  had  studied  under  Squarcione 
at  Padua;  but  there  is  nothing  in  Francia’s  work  to  point  to  Zoppo  as  his  in- 
structor. By  some  critics  Ercole  Roberti  de’  Grandi  is  named  as  his  master, 
and  again,  Francesco  Cossa,  who  in  1470  had  gone  from  Ferrara  to  Bologna 
and  there  established  himself  and  opened  a school,  is  believed  to  have  in- 
fluenced Francia’s  early  career.  Certain  characteristics  of  Cossa’s — a severity 
of  style  and  a glowing  color — are  perceptible  in  some  of  Francia’s  first  pro- 
ductions, but  it  is  undoubtedly  to  another  and  a younger  man  that  his  indebt- 
edness was  far  greater.  This  man  was  Lorenzo  Costa,  who,  in  1483,  was 
called  from  Ferrara  to  Bologna,  and  although  there  is  no  evidence  to  prove 
that  Francia,  his  senior  by  several  years,  was  at  any  time  his  pupil — nor,  on 
the  other  hand,  that  Costa,  as  stated  by  some  writers,  was  a pupil  of  Francia  — 
it  is  a fact  that  a close  friendship  existed  between  the  two  artists,  who  worked 
in  the  same  building,  Francia  executing  his  goldsmith’s  commissions  on  the 
ground  floor,  while,  above,  Costa  was  engaged  in  painting  pictures. 

“Of  the  two,”  writes  Dr.  Williamson,  “Costa  had  the  greater  imagination, 
the  wider  knowledge,  a larger  love  of  nature,  and  more  accuracy  in  drawing; 
but  Francia  was  by  far  the  grander  colorist,  the  more  deeply  religious  man  of 
the  two,  and  possessed  more  refinement  than  did  Costa.  They  were  constantly 
associated  in  important  works,  but  whenever  the  two  were  employed  together 
precedence  is  invariably  given  to  Francia.  It  is  quite  possible  that  the  coming 
of  Costa  to  Bologna  was  the  cause  of  Francia’s  change  of  craft,  and  that  but 
for  the  friendship  between  the  two  men  Francia  would  have  remained  all  his 
life  a goldsmith.  . . . Their  work  is  so  much  alike  in  its  earlier  stages  that 
pictures  by  the  one  have  in  the  past  been  attributed  to  the  other;  but  very  soon 
Francia  surpassed  his  friend,  and  produced  works  that  were  far  finer  in  con- 
ception, coloring,  and  refinement  than  Costa  could  ever  have  executed.” 

It  is  impossible  to  say  what  was  Francia’s  earliest  picture.  In  the  Bologna 
Gallery  a ‘Madonna  and  Saints,’  painted  by  order  of  Messer  Bartolommeo 
Felicini,  a wealthy  citizen  of  Bologna,  for  a chapel  founded  by  him  in  the 
Church  of  the  Misericordia,  and  bearing  the  date  1494,  is  said  by  Vasari  to 
be  the  artist’s  first  painting,  but  it  is  evident  from  the  maturitv  of  style  which 
this  picture  exhibits  that  it  is  the  work  of  no  inexperienced  hand.  Dr.  Will- 
iamson inclines  to  the  belief  that  a ‘Crucifixion,’  now  in  the  Archiginnasio 
Library  at.Bolgona,  is  the  earliest  picture  by  Francia  that  has  come  down  to 
us.  In  the  Borghese  Gallery,  Rome,  is  a St.  Stephen,  a single  kneeling  figure, 
which  although  not  regarded  as  the  first  is  usually  held  to  be  an  early  produc- 
tion, as  are  three  pictures  of  the  Madonna  and  Child, — one,  in  Berlin,  in 
which  St.  Joseph  is  included;  another,  with  two  angels  completing  the  group, 
in  Munich  (plate  ii);  and  a third,  now  at  Pressburg  in  the  collection  of  Count 
Jean  Palffy.  From  the  beginning  to  the  end  of  his  career  Francia  frequently 
signed  his  pictures  “Francia  Aurifex,”  while  after  his  adoption  of  painting, 
his  metal  work  and  medals,  according  to  a statement  made  by  Fra  Leandro 
[48  7 ] 


26 


MASTERS  IN  ART 


Alberti  in  his  ‘Storia  d’ltalia,’  bear  the  signature  “Francia  l ictor,”  thus  at- 
testing to  his  mastery  in  the  two  arts. 

In  1499  Francia,  by  that  time  established  in  reputation  as  a painter,  was 
commissioned  by  Giovanni  Bentivoglio,  who  was  ever  a munificent  patron  of 
the  artist,  to  paint  an  altar-piece  for  his  chapel  in  the  Church  of  San  Giacomo 
Maggiore.  This  work,  reproduced  in  plate  vii,  ranks  as  Francia’s  finest  ren- 
dering of  religious  subjects.  Orders  were  now  pouring  in  upon  him,  and  ac- 
cording to  Vasari  there  was  soon  hardly  a church  in  Bologna  that  could  not 
boast  a picture  from  his  hand.  Nor  were  his  labors  confined  to  his  own  city, 
but  for  the  neighboring  towns  as  well  he  painted  many  altar-pieces,  some  of 
which  are  now  to  he  seen  in  the  principal  galleries  of  Europe. 

Among  the  most  important  of  these  works,  in  addition  to  the  one  already 
named,  may  be  mentioned  those  painted  for  the  Church  of  San  Martino 
Maggiore  and  for  members  of  the  Manzuoli  and  Scappi  families,  all  three  pic- 
tures now  in  the  Bologna  Gallery;  one  executed  for  Ludovico  de  Calcina,  now 
in  the  Hermitage  Gallery,  St.  Petersburg;  the  ‘St.  Geminian  Altar-piece,’  in 
Berlin,  and  others  in  Vienna  and  Parma,  as  well  as  numerous  large  paintings 
representing  the  Annunciation,  Nativity,  Presentation,  Baptism,  Coronation, 
Deposition,  etc. 

The  Umbrian  influence  which  many  of  the  artist’s  works  betray  is  by  some 
critics  attributed  to  the  fact  that  at  this  time  pictures  by  Perugino,  then  at 
the  zenith  of  his  fame,  were  coming  to  Bologna,  where  they  must  have  been 
seen  by  Francia;  and  not  only  his  pictures,  but  the  Umbrian  master  himself, 
as  recorded  by  Marcello  Oretti,*  visited  Bologna  on  his  way  to  Florence,  and 
in  all  probability  made  the  acquaintance  of  the  goldsmith-painter,  who  was 
one  of  the  most  important  personages  in  the  city. 

Besides  altar-pieces  and  easel-pictures,  among  which  last  were  a number 
of  portraits  of  such  excellence  that  they  added  greatly  to  his  reputation, 
Francia  painted  several  frescos.  An  interesting  example  of  his  work  in  this 
medium  was  executed  in  1505  for  the  dining-hall  of  the  Podesta  Comunale  in 
Bologna,  commemorating  the  deliverance  of  the  city  from  destruction  by  an 
earthquake  which  occurred  in  that  year.  This  fresco,  known  as  the  ‘Madonna 
del  Terremoto’  (Madonna  of  the  Earthquake),  represents  the  Madonna  and 
Child  in  glory  appearing  in  the  sky,  blessing  the  city  of  Bologna,  which  with 
its  walls  and  towers  lies  beneath  them. 

Unfortunately  the  frescos  painted  by  Erancia  for  his  patrons  the  Bentivogli 
were  destroyed  by  the  mob  which  sacked  their  palace  in  Bologna  in  1507;  but 
for  those  same  patrons  he  painted,  together  with  Lorenzo  Costa  and  a number 
of  pupils,  a series  of  frescos  in  the  Chapel  of  St.  Cecilia  attached  to  the  Church 
of  San  Giocomo  Maggiore,  illustrating  the  legend  of  the  saint  to  whom  the 
chapel  had  been  dedicated.  The  two  subjects  executed  by  Erancia  are  the 
‘Marriage  of  St.  Cecilia’  and  the  ‘Burial  of  St.  Cecilia,’  and  although  sadly 
injured  by  the  Erench  soldiers,  who  during  their  occupancy  of  Bologna  in 

' ‘Notizie  de  professori  del  disegno  cive  pittori,  scultori  ed  architetti  bolognesi,’  etc.,  by  Marcello 
Oretti.  A series  of  volumes  in  manuscript,  compiled  probably  between  1640  and  1740,  and  preserved  in 
the  Archiginnasio  Library,  Bologna. 


[488  ] 


F R A N C I A 


27 


1796  stabled  their  horses  within  the  chapel,  enough  remains  of  their  original 
beauty  to  show  that  Francia,  while  not  equal  to  his  Florentine  contempora- 
ries, was  yet  skilled  in  this  form  of  decorative  art. 

These  were  the  last  works  executed  by  Francia  for  his  patrons  the  Ben- 
tivogli.  For  many  years  their  power  as  rulers  of  Bologna  had  been  increasing, 
until  finally  they  had  practically  become  independent  sovereigns  who  boldly 
defied  the  power  of  the  pope.  But  when,  in  October,  1503,  Julius  ii.  was 
elected  to  the  papacy,  that  warlike  head  of  the  Church  determined  to  put  an 
end  to  all  such  insubordination.  Accordingly,  in  the  autumn  of  1506,  he  left 
Rome  and  advanced  with  a body  of  soldiers  upon  Bologna,  and  having  issued 
a bull  declaring  Giovanni  Bentivoglio  to  be  an  enemy  m the  Church,  he  de- 
livered that  prince’s  goods  to  pillage  and  granted  a plenary  indulgence  to  any 
one  who  should  hand  him  over  into  the  possession  of  the  Holy  See. 

Deserted  by  his  former  adherents,  Bentivoglio  fled  from  Bologna  and  took 
refuge  in  Milan.  Meantime  the  pope  had  entered  the  city  at  the  head  of  his 
troops  and  was  received  with  acclamations  by  the  people,  and,  in  order  to 
prevent  any  chance  of  the  return  of  Bentivoglio,  the  papal  forces  set  fire  to  the 
palace  he  had  erected,  and  burned  it,  with  all  its  treasures,  to  the  ground. 

“The  departure  of  Messer  Giovanni  Bentivoglio,”  says  Vasari,  “caused 
Francia  great  sorrow;  the  exile  of  one  from  whom  he  had  received  such  im- 
portant benefits  grieving  him  exceedingly;  but  yet,  like  the  prudent  and  mod- 
erate person  as  he  was,  he  continued  to  pursue  his  labors  with  his  usual  assi- 
duity.” By  Pope  Julius  the  artist  was  held  in  great  esteem.  In  November, 
1506,  his  position  as  Director  of  the  Mint  at  Bologna  was  confirmed,  and  two 
years  later  he  was  given  entire  charge  of  the  provision  of  money  for  the  city. 

Of  Francia’s  private  life  very  little  is  known  beyond  the  fact  that  he  was 
married  and  that  he  had  two  sons,  Giacomo  and  Giulio,  both  of  whom  be- 
came artists.  The  number  of  pupils  he  gathered  about  him  is  said  to  have 
been  no  less  than  two  hundred.  Of  these  the  most  noted  was  Timoteo  Viti, 
believed  by  some  critics  to  have  been,  later,  Raphael’s  first  master. 

A special  interest  is  given  to  Francia’s  latter  years  by  the  friendship  that  he 
is  said  to  have  formed  with  Raphael,  who  was  then  working  in  Rome.  Mal- 
vasia,  who  has  written  much  of  the  artists  of  Bologna,  published  in  his  ‘Fel- 
sina  Pittrice’  a letter  which  he  claims  was  written  by  Francia  to  the  younger 
man,  as  well  as  a sonnet  said  to  have  been  composed  by  him  in  praise  of 
Raphael;  but  the  originals  have  never  been  produced,  and  by  the  best  author- 
ities these  compositions  are  looked  upon  as  forgeries.  There  is  every  reason 
to  believe,  however,  that,  as  is  mentioned  in  the  records  of  Bologna,  the  two 
painters  held  intercourse  with  each  other;  and  if  Crowe  and  Cavalcaselle  are 
wrong  in  their  supposition  that  a meeting  took  place  between  them  in  Bologna 
m 1505-6,  we  may  at  all  events  accept  Vasari’s  statement  that  “they  saluted 
each  other  by  letter,”  and  further  credit  that  historian  when  he  goes  on  to  say 
that  Francia,  having  heard  much  of  the  divine  paintings  by  Raphael,  desired 
to  see  his  works,  hut  that  he  was  now  old  and  was  enjoying  his  ease  in  his 
beloved  Bologna.  It  so  chanced,  however,  that  Raphael  had  been  painting  a 
picture  of  St.  Cecilia  for  one  of  the  chapels  of  the  Church  of  San  Giovanni- 
[489] 


28 


MASTERS  IN  ART 


in-Monte,  Bologna  (this  picture  is  now  in  the  Bologna  Gallery),  and  having 
packed  up  his  work  he  addressed  it  to  the  care  of  Francia,  aksing  him  to  see 
to  its  erection  in  the  chapel  for  which  it  was  intended,  and  begging  him  to 
repair  any  injury  that  might  be  found  on  the  painting,  and  even  that  he 
would  correct  any  defect,  if  such  might  strike  him  upon  seeing  the  work. 
Francia,  we  are  told,  was  greatly  pleased  with  this  commission,  which  would 
allow  him  to  look  upon  a painting  by  Raphael,  but  that  the  sight  of  the  picture 
had  the  effect  upon  him  that  Vasari  records  — namely,  that  its  perfections  so 
filled  him  with  astonishment  that,  realizing  his  own  inferiority,  he  died  of  grief 
and  vexation — is  wholly  without  foundation.  Flis  death,  which  occurred 
in  1517,  when  he  was  sixty-seven  years  old,  was  indeed  sudden,  being  caused 
by  apoplexy.  FIis  place  of  burial  is  not  known,  but  it  is  believed  that  he  lies 
in  the  Church  of  San  Francesco,  Bologna,  or  in  its  cloister  near  to  the  tomb 
now  occupied  by  his  son  Giacomo.  — based  on  george  c.  Williamson’s 
LIFE  OF  FRANCIA 


art  of  jTrantia 

HENRI  DELABORDE  FROM  BLANC’S  ‘HISTOIRE  DES  PEINTRES’ 

Although  not  chronologically  the  first,  yet  in  the  sense  that  his  influ- 
L ence  upon  the  art  of  Bologna  was  such  as  no  previous  painter  had  exer- 
cised, Francia  may  be  called  the  founder  of  the  Bolognese  school.  At  the  time 
of  his  birth  a number  of  painters  had  already  lived  and  worked  in  Bologna, 
and  as  far  back  as  the  period  when  Cimabue  started  at  Florence  the  reform 
which  Giotto  was  to  carry  on  so  ably,  perhaps  even  prior  to  those  early  tenta- 
tive efforts  at  emancipation,  a few  Bolognese  artists  whose  names  have  come 
down  to  us  in  history  had,  to  some  extent,  adopted  the  Greek  manner  and 
sought  to  popularize  its  traditions.  Later  on,  the  miniaturist  Franco,  whose 
praise  was  sung  by  Dante,  and  the  painters  Jacopo  degli  Avanzi,  Lippo  di 
Dalmasii,  and  finally,  Marco  Zoppo,  the  last  of  the  old  Bolognese  painters 
who  preceded  Francia,  left  works  which  were  not  devoid  of  merit,  but  in  which 
can  be  traced  neither  the  progressive  steps  of  a teaching  common  to  all,  nor 
the  development  of  principles  attributable  to  any  one  master. 

It  is,  however,  altogether  different  with  the  works  which  were  produced 
under  the  teaching  of  Francia,  for  under  him  all  the  Bolognese  artists  followed 
the  same  rules  and  adopted  the  same  method.  This  unanimity,  to  be  sure, 
was  of  short  duration.  Francia’s  pupils  did  not  in  their  turn  transmit  to  their 
followers  the  same  docile  spirit  that  they  themselves  had  shown,  so  that 
scarcely  had  the  school  been  established  when,  even  in  the  second  generation 
of  its  existence,  it  became  divided.  An  imitation  of  the  Roman  manner,  in- 
troduced into  Bologna  by  Bagnacavallo,  awakened  a taste  for  the  style  known 
as  Michelangelesque  and  soon  became  a mania.  It  therefore  came  to  pass 
that  what  had  at  first  seemed  to  be  a decisive  epoch  in  the  history  of  Bolognese 
art  turned  out  to  be  after  all  merely  a chance  event,  of  which  the  origin,  the 
[490] 


F R A N C I A 


29 


characteristics,  and  the  consequences  are  to  be  found  embodied  only  in  the 
works  of  Francia  and  his  principal  pupils.  . . . 

Among  the  Italian  painters  who  at  the  opening  of  the  sixteenth  century  en- 
deavored to  reconcile  the  pious  traditions  of  the  middle  ages  with  the  advance 
which  had  been  made  in  the  domain  of  the  purely  picturesque,  Francia  is  one 
whose  efforts  have  been  most  meritorious  and  most  wisely  directed.  His  style, 
devoid  no  doubt  in  sacred  subjects  of  the  perfect  simplicity  and  fervor  which 
permeate  the  works  of  Giotto’s  followers,  is  at  all  events  exempt  from  that 
pagan  elegance  which  the  art  known  as  Renaissance  art  was  to  employ  at  first 
as  an  auxiliary  resource,  and  then  as  a principal  means  of  expression. 

If  Francia  cannot  be  classed  among  that  group  of  painters  who  were  above 
all  else  religious  painters,  he  does  not  at  all  events  swell  the  ranks  of  those 
who,  merely  skilled  in  the  technical  qualities  of  their  art,  saw  in  sacred  sub- 
jects only  a pretext  for  picturesque  arrangement,  for  bold  draftsmanship,  or 
for  charm  of  color.  So,  too,  because  of  a certain  absence  of  style  in  his  figures 
and  by  reason  of  a caution  and  timidity  in  expressing  his  feelings,  he  stands 
apart  from  that  great  group  of  men  who  personify  the  last  step  in  the  develop- 
ment of  Italian  painting.  In  a word,  Francia’s  works  form  a sort  of  link  be- 
tween the  incomplete  productions  of  the  Primitives  and  the  finished  and  per- 
fected works  of  the  Leonardos  and  the  Raphaels;  or,  to  make  use  of  an  old 
mythological  figure,  it  might  be  said  that  his  place  is  half-way  up  the  slopes  of 
Mt.  Parnassus,  on  whose  summit  the  greatest  heroes  of  art  sit  enthroned.  He 
is  in  full  sight,  comparatively  easy  of  access,  and  equally  removed  from  those 
whose  talents  are  but  mediocre  and  those  who  are  most  divinely  inspired. — 
FROM  THE  FRENCH 

E.  H.  AND  E.W.  BLASHFIELD  AND  A.  A.  HOPKINS,  EDITORS  ‘VASARI’  S LIVES’ 

Francia  represents  the  school  of  Bologna  at  its  best;  grave  and  deeply 
religious,  he  is  sometim.es  quite  noble  by  force  of  this  earnest  gravity.  His 
color  is  Umbrian  in  its  strength  and  richness,  but  is  a little  heavier  than  that  of 
Perugino;  he  is  as  sincerely  reverent  as  Perugino  at  his  best,  yet  has  not  quite 
the  same  charm,  nor  yet  any  of  the  latter’s  affectation.  He  is  more  natural 
and  simple  than  the  Umbrian;  his  art  is  stamped  with  the  honest,  unaffected, 
burgher  piety  of  Bologna  La  Grassa,  rather  than  with  the  perfervid  ecstasy  of 
mystical  and  savage  Perugia.  His  types  are  even  homely,  but  his  round- 
headed,  short-bearded  saints  are  beautiful  in  the  naif  sincerity  of  their  ex- 
pression; his  snub-nosed,  heavy-chinned,  very  earnest,  but  sometimes  rather 
dull  Madonnas  look  as  though  Giotto’s  women  had  been  perfected  by  fifteenth- 
century  technique  upon  our  master’s  panels. 

As  a portrait-painter  his  simplicity  and  directness,  closeness  of  modeling, 
and  excellent  color  help  to  make  him  admirable  and  even  impressive.  There 
is  nothing  very  salient  in  his  long  list  of  works;  his  great  St.  Cecilia  frescos  are 
rather  entertaining  by  their  quaint  costumes  than  great  by  other  qualities,  but 
his  easel-pictures  are  sustained  and  admirable.  In  the  choir  of  the  Renaissance 
his  note  is  grave  and  instinct  with  quiet  feeling;  he  has  no  roulades  nor  flour- 
ishes, but  among  all  the  painters  of  the  Emilia  and  the  Ferrarese,  Costa  and 
[49  1] 


MASTERS  IN  ART 


3 0 

Cossa,  Tura  and  tlie  two  Ercoles,  Roberti  and  Grandi,  by  far  the  fullest  chord 
is  struck  by  Francesco  Francia. 

JULIA  CARTWRIGHT  ‘MANTEGNAANDFRANCIA’ 

IF  we  consider  the  place  which  Francia  holds  in  contemporary  art  we  shall 
see  how  little  he  had  in  common  with  the  spirit  of  his  age,  and  how  much 
of  his  aspirations  and  sympathies  belonged  to  the  old  world  of  the  earlier  relig- 
ious painters.  Fiving  as  he  did  in  the  days  of  Raphael,  at  a moment  when  the 
Renaissance  was  fast  hastening  to  its  culminating  point,  Francia  took  no  share 
in  the  great  movement  that  was  swaying  forward  at  every  point,  but  stood 
apart  in  a sphere  of  his  own.  In  an  age  when  revived  Paganism  had  pene- 
trated into  every  part  of  society,  and  the  love  of  the  antique  was  the  ruling 
impulse  of  intellectual  thought,  he  scarcely  shows  a trace  of  this  influence, 
and  derives  his  inspiration  exclusively  from  Christian  sources. 

But  in  this  realm  of  mystic  art  it  must  be  owned  that  he  takes  the  highest 
place.  For  to  the  earnestness  and  purity  of  Fra  Angelico’s  conceptions  Francia 
brought  a mastery  of  resources  which  had  been  lacking  to  those  older  painters. 
Flis  creations  are  animated  with  a warmer  humanity  and  a more  vigorous  life, 
they  have  all  the  charm  of  glowing  colors  and  strongly  contrasted  light  and 
shadow,  while  secular  influences  are  allowed  a larger  part  in  the  rich  orna- 
ment and  noble  architecture  which  surround  them. 

'Fhus  Francia  shares  with  Perugino  the  praise  of  having  combined  the  tech- 
nical perfection  of  a later  age  with  the  Christian  motives  which  had  so  largely 
influenced  the  first  efforts  of  Italian  art.  But,  unlike  Perugino,  the  religious 
feeling  which  formed  the  secret  of  Francia’s  inspiration  remained  fresh  and 
strong  within  his  breast  to  the  end  of  his  life,  and  was  with  him  still  a real  and 
living  power  when  it  had  sunk  into  conventionalism  and  affectation  in  the 
latter  works  of  the  Umbrian  master,  and  was  rapidly  yielding  to  the  growing 
influences  of  a worldly  age  in  the  creations  of  Raphael. 

Slowly  but  surely  men’s  thoughts  and  theifideals  of  life  had  undergone  a 
complete  change,  and  the  art  of  Italy  was  entering  on  a new  phase  in  which 
there  was  no  longer  room  for  the  rapture  of  Fra  Angelico’s  faces  or  the  sweet 
gentleness  of  the  Madonnas  who  haunted  Francia’s  dreams. 

JOHN  ADDINGTON  S Y M O N D S ‘RENAISSANCE  IN  ITALY’ 

THF  spirituality  that  renders  Fra  Angelico  unintelligible  to  minds  less 
ecstatically  tempered  tban  his  own  is  not  found  in  such  excess  in  Francia, 
nor  does  his  work  suffer  from  the  insipidity  of  Perugino’s  affectation.  Deep 
religious  feeling  is  combined  with  physical  beauty  of  the  purest  type.  A greater 
degree  of  naivete  and  naturalness  compensates  for  the  inferiority  of  Francia’s 
to  Perugino’s  supremely  perfect  handling.  This  is  true  of  Francia’s  numerous 
pictures  at  Bologna — where.  Indeed,  in  order  to  be  rightly  known,  he  should 
be  studied  by  all  lovers  of  the  fifteenth-century  style  in  its  most  delightful 
moments.  For  mastery  over  oil-painting  and  for  charm  of  color  Francia 
challenges  comparison  with  what  is  best  in  Perugino,  though  he  did  not  quite 
attain  the  same  technical  excellence. 

[492] 


FRANCI  A 


31 


GEORGE  C.  WILLIAMSON  ‘FRANCIA’ 

The  influence  of  Francia  does  not  appear  to  have  extended  far  beyond 
his  immediate  surroundings.  His  school  was  a very  large  one,  and  he 
implanted  his  own  ideas  very  firmly  upon  his  pupils;  but  he  appears  neither 
to  have  been  touched  by  the  influences  of  pagan  literature  that  were  abroad 
in  his  time,  nor  to  have,  in  his  turn,  sent  any  great  movement  away  from 
Bologna  in  connection  with  his  art 

He  occupies  a place  apart.  His  pictures  almost  without  exception  are  re- 
ligious; they  betray  no  special  sympathy  with  the  classic  or  humanistic  move- 
ment. There  is  not  one  of  them  that  is  concerned  with  mythology  or  pagan 
story,  but  all  have  sacred  themes  as  their  subject. 

His  coloring  was  always  rich,  full,  and  deep.  His  pathos  was  never  forced, 
and  always  assisted  by  the  tone  of  his  color-scheme.  His  earnestness  and 
purity  were  very  marked;  his  tender  sympathy,  religious  devotion,  warm- 
hearted acceptance  of  the  truths  of  religion,  and  simple  faith  were  all  clear 
features  of  his  life.  He  was  possessed  of  a mastery  over  his  materials  which 
is  well  shown  in  every  branch  of  art  with  which  he  had  to  do,  and  is  espe- 
cially marked  when  color  is  to  be  taken  into  account.  He  was  able  to  create 
an  emotion,  and  to  move  tbe  heart  of  the  spectator  in  the  direction  that  he 
desired,  whether  it  be  that  of  sympathy,  affection,  or  sadness.  He  never  de- 
picted scenes  of  horror  or  intensified  bodily  suffering  in  his  works;  but  loved 
to  paint  those  passages  of  pure  affection,  of  deep  love,  of  tender  pathos,  of 
adoring  reverence,  or  of  aspiring  hope,  in  which  his  heart  rejoiced. 

He  takes  a place  towards  the  close  of  the  Renaissance  as  a great  master 
whose  Christian  motives  were  never  lost;  who  was  controlled  through  all 
his  life  by  the  teaching  of  his  religion;  who  never  became  merely  mechanical 
or  formal;  who  was  always  master  of  his  resources,  always  ready  to  use  them 
in  the  service  of  the  Church,  in  whose  teaching  he  had  so  profound  a belief, 
and  always  ready  to  put  not  alone  his  whole  heart  into  his  work,  but  also  his 
whole  soul  and  emotions,  in  order  that  the  result  should  be  the  very  best  of 
which  he  was  capable,  and  a living  part  of  himself. 


Cl)c  5^orfes  of  jfrantia 

DESCRIPTIONS  OF  THE  PLATES 

‘THEMADONNAOFTHEROSEGARDEN’  PLATEI 

JULIA  CARTWRIGHT  thus  describes  this  picture  in  tbe  Munich  Gallery; 

“The  Child  lies  on  a red  cloth  spread  on  the  grass  of  a flowery  lawn, 
stretching  out  its  little  arms  with  a smile  of  delight  to  its  mother,  who  is  in 
the  act  of  sinking  upon  her  knees  in  a rapture  of  loving  adoration.  A trellis 
of  tall  roses,  which  might  have  been  painted  by  a Botticelli  or  a Filippino 
Lippi,  fences  the  garden  round,  and  in  the  pleasant  meadows  beyond,  horses 
are  feeding  on  the  banks  of  a winding  stream,  and  church  towers  rise  in  the 
[ 49  3] 


32 


MASTERS  IN  ART 


distance.  Nowhere  is  the  transparent  delicacy  of  Francia’s  coloring  more 
pleasing  than  in  the  silver-gray  tones  of  the  Virgin’s  robe,  while  her  counte- 
nance wears  that  gentle  air  of  tender  melancholy  which  haunts  his  concep- 
tions in  the  same  way  as  the  smile  of  Leonardo’s  faces  and  the  deeper  sadness 
of  Botticelli’s  Madonnas.” 

“This  beautiful  picture,”  writes  Eugene  Miintz,  “conceived  in  that  spirit 
of  mysticism  which  marks  the  productions  of  the  Primitives,  breathes  a de- 
licious freshness  and  reveals  Francia  as  a poet  as  well  as  a painter.” 

The  panel  measures  five  feet  eight  inches  high  by  four  feet  four  inches  wide. 

‘MADONNA,  CHILD,  AND  ANGELS’  PLATE  II 

This  picture,  an  early  work  of  Francia’s,  is  now  in  the  Munich  Gallery. 

As  in  many  of  Bellini’s  compositions,  the  Madonna  supports  the  Child 
standing  upon  a balustrade,  which  is  here  covered  with  gold-embroidered 
tapestry.  Mary’s  robe  is  deep  red  and  her  mantle  a rich  peacock  blue  lined 
with  dark  green.  Behind  her  is  a low  crimson  screen,  to  the  right  and  left  of 
which  stand  angels — one  with  a wreath  upon  his  long  ringlets,  the  other  with 
his  fair  hair  encircled  by  a fillet.  Dr.  Williamson  calls  attention  to  the  fact 
that  the  pattern  of  the  drapery  on  which  the  Child  is  standing  is  identical  with 
the  design  of  one  of  the  copes  in  a signed  altar-piece  by  Francia,  thus  giving 
proof,  if  such  were  needed,  of  the  genuineness  of  the  picture. 

The  painting  is  on  wood  and  measures  a little  more  than  two  feet  high  by 
one  foot  four  inches  wide. 

‘THE  ANNUNCIATION’  PLATE  III 

ACCORDING  to  records  found  by  Dr.  Williamson  in  Bologna,  this  picture 
was  painted  between  1500  and  1510  for  the  Duke  Francesco  Maria 
d’Urbino,  and  given  by  him  to  his  secretary  for  a chapel  in  the  Carmelite 
Church  of  Modena.  There  it  remained  until  bought  by  an  agent  of  Lord 
Northwick,  from  whose  possession  it  passed  into  that  of  M.  F.  Reiset,  and 
finally  into  the  collection  of  the  Duke  d’Aumale  (Musee  Conde)  at  Chantilly. 

The  Virgin,  clad  in  a red  robe  and  blue  mantle,  stands  beneath  the  portico 
of  a Bolognese  palace  of  the  fifteenth  century.  Her  eyes  are  raised  to  the  an- 
nunciate angel  who,  clad  in  draperies  of  blue  and  yellow,  flies  towards  her 
with  wings  outspread,  bearing  in  his  hand  the  lily  branch.  Near  the  Virgin 
stands  St.  Albert  the  Carmelite  saint,  wearing  the  brown  robe  and  white 
mantle  of  his  Order.  He  holds  a book  and  cross,  and  beneath  his  feet  is  a 
devil. 

“It  is  a wonderful  picture,”  writes  Dr.  Williamson,  “very  Umbrian  in  its 
characteristics,  especially  in  the  way  in  which  St.  Albert  is  standing,  his  foot 
upon  the  crushed  demon,  and  wrapped  in  contemplation,  indifferent  to  all 
around  him.  Umbrian  also  is  the  manner  of  painting  the  landscape,  but  the 
scene  was  near  to  Bologna,  and  so  closely  has  the  artist  copied  the  scenery 
that  I have  been  able  to  identify  the  very  rock  in  the  picture,  at  Sasso,  near  to 
which  the  Order  had  a country  home.  The  coloring  is  very  rich,  full  of  depth 
and  tone,  and  the  crimsons  and  blues  are  especially  important.” 

The  picture  measures  six  feet  high  by  four  feet  four  inches  wide. 

[494] 


FR  A N C I A 


33 


‘THE  BAPTISM  OF  CHRIST’  PLATE  IV 

This  famous  picture,  bearing  the  inscription  francia  avrifex.  bon. 

F.  M.  V.  viiii  (Francia,  Goldsmith  of  Bologna,  did  this  in  1509),  is  now  in 
the  Royal  Gallery,  Dresden.  Its  previous  history  is  unknown.  Vasari  speaks 
of  a ‘ Baptism  of  Christ’  painted  by  Francia  after  the  departure  from  Bologna 
of  Giovanni  Bentivoglio,  and  taken  to  Modena,  hut  whether  he  refers  to  this 
work  or  to  a similar  and  earlier  version  of  the  same  subject  which  is  now  at 
Hampton  Court  cannot  be  proved,  for  although  many  pictures  at  Dresden 
came  from  Modena,  no  mention  is  made  of  this  one  in  the  list. 

The  Dresden  ‘Baptism,’  as  its  date  proves,  is  a late  work.  “The  faces,” 
writes  Dr.  Williamson,  “have  acquired  that  grace  and  sweetness  that  Francia 
was  so  well  able  to  produce;  the  draperies  lack  the  crumpled  metallic  folds 
that  mark  the  niello  stage;  the  bushy  trees  contrast  with  the  finer  ones  in  the 
regular  fashion,  and  the  effect  of  light  on  the  water,  which  is  so  marked  a 
characteristic  of  the  Hampton  Court  picture,  in  this  one  has  assumed  an  even 
greater  importance,  and  is  treated  with  much  skill  and  effect.” 

The  picture  was  damaged  by  a shell  in  the  bombardment  of  Dresden  in 
1760,  and  has,  moreover,  been  injured  somewhat  by  restoration.  The  figure 
of  Christ  standing  on  the  surface  of  the  shallow  river,  his  feet  reflected  in  its 
clear  waters,  is  full  of  a sentiment  of  deep  holiness.  St.  John  the  Baptist,  a red 
mantle  worn  over  his  gray  camel’s-hair  garment,  kneels  reverently  upon  the 
bank  as  he  is  about  to  perform  the  sacred  rite,  while  on  the  other  side  of  the 
picture  two  angels,  one  in  yellow,  the  other  in  light  red,  witness  the  scene,  and 
in  the  sky  the  Holy  Spirit  appears  as  a dove. 

The  painting  is  on  wood  and  measures  nearly  seven  feet  high  hy  five  feet 
eight  inches  wide. 

‘THE  ADORATION  OF  THE  CHILD’  PLATE  V 

VASARI  tells  us  that  the  success  of  the  altar-piece  painted  by  Francia  for 
Giovanni  Bentivoglio  (see  plate  vii)  was  so  great  that  his  son  Antonio 
Galeazzo  Bentivoglio,  archdeacon  of  Bologna,  and  papal  prothonotary,  was 
induced  to  give  the  master  a commission  to  be  executed  jointly  by  him  and  by 
Lorenzo  Costa  for  a picture  to  be  placed  over  the  high  altar  of  the  Church  of 
the  Misericordia  in  Bologna. 

The  main  body  of  this  altar-piece,  on  which  Francia  painted  ‘The  Adora- 
tion of  the  Child,’  is  now  in  the  Bologna  Gallery.  The  lunette  by  Lorenzo 
Costa,  representing  ‘The  Annunciation,’  is  still  in  the  church  for  which  the 
whole  work  was  painted,  and  the  predella,  also  by  Costa,  showing  ‘The 
Adoration  of  the  Magi,’  is  in  the  Brera  Gallery,  Milan. 

‘The  Adoration  of  the  Child’  is  painted  in  a colder  key  of  color  than  was 
customary  with  Francia.  The  composition  is  very  beautiful,  the  figures  well 
drawn,  and  the  distant  landscape  varied  and  rendered  with  great  delicacy. 
In  the  group  of  adoring  saints  surrounding  the  new-born  Christ  Francia  has 
introduced  the  figure  of  the  donor,  who  had  lately  returned  from  a pilgrim- 
age to  the  Holy  Land,  kneeling  on  the  left,  with  the  red  cross  on  his  mantle, 
[4!)5] 


34 


MASTERS  IN  ART 


The  shepherd  standing  at  the  right  of  the  picture  Is  the  artist’s  friend  Girolamo 
Pandolh  di  Casio,  a goldsmith  and  also  a poet,  who  received  from  the  pope  a 
laurel  crown  which  Francia  has  here  placed  upon  his  head.  Beside  the  Virgin 
kneels  St.  Augustine  in  miter  and  richly  embroidered  cope;  St.  Joseph,  clad  in 
red  and  yellow,  is  at  the  left,  leaning  upon  his  staff;  while  in  St.  Francis, 
whose  hands  are  folded  in  prayer  as  he  looks  devoutly  at  the  Child,  tradi- 
tion says  the  painter  has  given  us  a likeness  of  himself. 

The  painting  measures  seven  and  a half  feet  high  by  about  six  feet  wide. 

‘PORTRAITOFFEDERIGOGONZAGA’  PLATEVI 

This  portrait,  which  for  many  years  hung  unrecognized  in  the  collection 
of  its  present  owner,  A.  W.  Leatham,  Esq.,  at  Miserden  Park,  Glouces- 
tershire, England,  has  been  identified  by  Mr.  Herbert  Cook  as  the  long-lost 
likeness  which  Francia  is  known  to  have  painted  in  Bologna  in  the  summer 
of  1510  of  young  Federigo  Gonzaga,  son  of  the  celebrated  Isabella  d’Este, 
Marchioness  of  Mantua.  The  story  of  this  picture  as  told  by  Mr.  Cook  in 
‘The  Athenaeum  ’ of  February  7,  1903,  and  in  the  ‘Burlington  Magazine’  of 
that  same  year,  as  well  as  by  Mrs.  Ady  (Julia  Cartwright)  in  her  recent  work, 
‘Isabella  d’Este,’  is  briefly  as  follows:  In  the  year  1510,  by  order  of  Pope 
Julius  II.,  Isabella  d’Este  sent  her  young  son,  Federigo,  then  a child  of  ten, 
to  Rome  as  a hostage  for  her  husband,  Giovanni  Francesco  Gonzaga,  Mar- 
quis of  Mantua,  who  through  the  pope’s  influence  had  lately  been  liberated 
from  the  hands  of  the  Venetians,  by  whom  he  had  been  taken  prisoner  after 
the  battle  of  Legnano.  On  the  way  to  Rome  the  boy  passed  through  Bo- 
logna, where  his  father  then  was,  and  Isabella,  wishing  to  have  a souvenir  of 
her  son,  asked  Lorenzo  Costa  to  paint  his  portrait  for  her.  Costa,  however, 
W'as  too  busy  just  then  to  comply  with  her  request,  and  Francia  was  commis- 
sioned to  do  so  in  his  stead.  From  Isabella’s  letters  we  learn  that  this  portrait 
was  begun  on  July  29,  and  that  before  August  10  the  finished  work  had  been 
delivered  into  her  hands.  “It  is  impossible,”  she  wrote,  “to  see  a better  por- 
trait, or  one  more  like  Federigo.” 

The  painting  here  reproduced  tallies  with  the  description  which  Isabella 
gives  of  it  in  her  correspondence.  Coincidences  of  age,  date,  style,  and  de- 
tad  all  point  to  the  conclusion  that  it  is  the  identical  portrait  which  so  de- 
lighted the  great  Marchioness.  It  represents  a boy  of  apparently  ten  years  of 
age,  with  brown  eyes  and  long  fair  hair.  He  is  richly  dressed,  as  befitted  his 
station  in  life,  and  holds  a dagger  in  one  hand.  The  background  is  an  elabo- 
rately painted  landscape  resembling  many  others  in  Francia’s  works.  “Not 
only  is  it  a genuine  piece,”  writes  Mr.  Flerbert  Cook,  “but  it  is  as  fine  a thing 
as  Francia  ever  painted,  and  in  absolutely  perfect  condition.” 

In  May,  1512,  nearly  two  years  after  the  portrait  was  painted,  Isabella  gave 
it  to  a gentleman  of  Ferrara,  Zaninello  by  name,  who  had  rendered  her  great 
services.  It  probably  remained  in  Ferrara  in  private  possession  until  taken 
to  Paris  among  Napoleon’s  spoils.  The  father  of  the  present  owner  bought  it 
from  the  Napoleon  collection,  and  now,  after  four  centuries,  the  long-missing 
portrait  of  Federigo  Gonzaga  has  once  more  been  brought  to  light. 

[496] 


F R A N C I A 


35 


THE  BENTIVOGLIO  ALTAR-PIECE 


PLATE  VII 


F the  many  altar-pieces  painted  by  Francia,  none  equals  in  beauty,  nor 


surpasses  in  technical  excellence,  the  famous  group  of  the  Madonna 
with  saints  and  angels  known  as  the  ‘ Bentivoglio  Altar-piece.’  This  work 
bears  the  date  1499  and  was  painted  by  order  of  Giovanni  Bentivoglio,  ruler 
of  Bologna,  for  his  family  chapel  in  the  great  church  of  San  Giacomo  Mag- 
giore  in  that  city,  where  it  still  occupies  its  original  place. 

“In  this  noteworthy  picture,’’  writes  Dr.  Williamson,  “there  is  to  he  seen 
a great  advance  over  the  works  that  had  preceded  it.  Doubtless  Francia 
strained  his  utmost  to  please  the  important  patron  who  had  commissioned  it 
and  whose  satisfaction  could  make  his  reputation  and  insure  for  him  many 
other  commissions.  . . . There  was  a further  necessity  laid  upon  him  in  this 
work  which  taxed  all  his  powers,  and  that  was  the  wish  of  Giovanni  Bentivoglio 
that  two  of  his  children  should  be  introduced  into  the  picture,  and  that  the 
artist  should  paint  their  portraits  in  the  two  angels  who  appear  in  the  upper 
part  of  the  composition  on  either  side  of  the  Madonna.  In  every  way  Francia 
acquitted  himself  well,  and  Vasari  tells  us  that  so  pleased  was  Bentivoglio 
with  the  work  that  he  gave  him  over  and  above  the  promised  payment  ‘a  very 
handsome  and  most  honorable  gift.”’ 

Seated  upon  a lofty  throne  against  a rich  architectural  background  is  the 
Madonna  with  the  Child  upon  her  knee.  Beside  her  are  adoring  angels,  and 
at  her  feet  stand,  on  the  right,  St.  John  the  Evangelist  and  St.  Sebastian,  and  on 
the  left  St.  Augustine  and  a saint  m armor  who  has  been  designated  variously 
as  St.  Florian,  St.  Fabiano,  and  St.  Proculus,  military  patron  of  Bologna. 
On  the  steps  of  the  throne  two  angels  are  seated  playing  upon  lute  and  viol  — 
a favorite  motive  with  Francia,  as  it  was  with  Bellini  and  other  Venetian 
painters. 

The  colors  in  this  picture,  of  which  blue  is  the  prevailing  hue,  are  rich  and 
glowing,  and  the  figures  of  the  saints  are  more  vigorous  and  manly  than  in 
any  other  of  Francia’s  works,  that  of  St.  Sebastian,  indeed  (called  by  Burck- 
hardt  “one  of  the  most  perfect  forms  of  the  fifteenth  century”),  being  so 
highly  thought  of  by  later  Bolognese  artists  as  to  be  often  copied  into  their 
compositions. 

‘PORTRAIT  OF  BARTOLOMMEO  BIANCHINI’  PLATE  VIII 

ACCORDING  to  early  Bolognese  writers  Francia  painted  many  important 


jr\  portraits  and  gained  for  himself  a great  reputation  in  that  branch  of  art. 
Of  these  works,  however,  so  few  well-authenticated  ones  remain  that  those 
which  are  without  question  accepted  as  Francia’s  can  be  counted  on  the  fingers 
of  one  hand. 

No  dissentient  voice,  it  is  believed,  has  been  raised  as  to  the  genuineness  of 
the  great  portrait  of  Bartolommeo  Bianchini,  here  reproduced,  a work  of 
Francia’s  early  period  and  of  the  highest  quality.  Mr.  R.  H.  Benson,  writing 
of  this  painting  in  the  catalogue  of  the  exhibition  of  pictures  held  at  the  Bur- 
lington Fine  Arts  Club,  London,  in  1894,  says  that  it  is  “a  marvel  of  fine  con- 


[ 49  7 ] 


36 


MASTERS  IN  ART 


dition,  and  betrays  the  technique  of  the  goldsmith  seeking  for  the  quality  of 
enamel.” 

Bartolommeo  Bianchini  was  an  eminent  senator  of  Bologna,  as  well  as  a 
poet  who  earned  added  distinction  by  some  lines  written  in  praise  of  the  artists 
of  his  native  city,  and  especially  of  his  friend  Francesco  Raibolini,  called 
Francia.  The  life-sized  portrait  here  reproduced  shows  him  dressed  in  a 
dark-colored  jacket  and  wearing  a black  cap.  Fie  holds  a letter  in  his  right 
hand.  The  landscape  in  the  background  is  carefully  and  minutely  painted. 
The  portrait  is  on  panel,  and  measures  nearly  two  feet  high  by  one  foot  three 
and  a half  inches  wide.  It  is  owned  by  George  Salting,  Esq.,  London. 

‘MADONNA  AND  CHILD’  PLATE  IX 

SEATED  before  a hedge  of  roses,  the  Madonna,  in  a red  robe  and  green 
mantle,  holds  in  her  lap  the  Child  Jesus,  whose  little  hand  rests  within 
that  of  his  mother.  Mary’s  face  is  so  full  of  a sweet  tenderness  that  it  goes  far 
to  justify  the  saying  ascribed  to  Raphael,  that  ‘‘no  Madonnas  were  so  holy 
and  beautiful  as  those  which  Francia  painted.”  This  picture,  now  in  the 
Borghese  Gallery,  Rome,  was  commissioned  by  Sister  Dorotea  di  Fantuzzi,  of 
the  Convent  of  Santa  Maria  Maddalena  in  Bologna,  as  an  inscription  on  the 
back  of  the  panel  testifies.  The  damaged  condition  of  the  painting,  as  well  as 
the  unskilful  restoration  to  which  it  has  been  subjected,  have  caused  its 
authenticity  to  be  questioned  by  some  critics,  who  have  given  it  to  Giacomo, 
Francia’s  son;  but  the  ease,  grace,  and  simplicity  of  the  composition,  the  deli- 
cate way  in  which  the  rose-hedge  is  painted,  and  above  all  the  expression  of 
purity  in  the  faces,  so  characteristic  of  the  older  artist,  point  to  the  author- 
ship of  Francia  himself,  and  by  the  majority  of  judges  it  is  regarded  as  a work 
of  his  hand. 

‘‘It  recalls  the  ‘Madonna  of  the  Rose  Garden’  at  Munich,”  writes  Dr. 
Williamson,  “and  in  its  full  and  flowing  draperies  is  one  of  the  finest  pieces 
of  painting  and  arrangement  that  Francia  ever  did.” 

‘PIETA’  PLATE  X 

This  picture  is  the  lunette  for  a great  altar-piece  painted  by  Francia 
between  1510  and  1515  for  the  Buonvisi  Chapel  in  the  Church  of  San 
Frediano  in  Lucca.  In  the  following  century  the  work  was  removed  from  its 
place  in  the  church  to  the  Ducal  Palace  of  Lucca,  and  on  the  occasion  of  a 
sale  of  the  Duke  of  Lucca’s  effects  in  1840  was  taken  to  London,  where  it  was 
soon  afterwards  purchased  for  the  National  Gallery. 

On  the  main  body  of  the  altar-piece  are  represented  the  Madonna  and 
St.  Anne  with  the  Child  seated  upon  a throne  about  which  are  grouped  four 
saints,  while  at  its  base  is  a graceful  figure  of  the  youthful  St.  John.  Beauti- 
ful as  is  this  portion  of  the  picture,  the  lunette,  now  detached  from  it,  and  re- 
produced in  plate  X,  is  still  more  so.  “No  picture,”  writes  Julia  Cartwright, 
“is  more  popular  or  has  ever  been  more  frequently  copied  and  reproduced 
than  Francia’s  ‘Pieta.’  This  is  due  not  only  to  the  richness  of  coloring  and 
the  admirable  balance  of  the  composition,  but  to  the  purity  and  tenderness  of 
[498] 


FRANCI A 


37 


the  feeling  which  the  goldsmith-painter  here  reveals.  The  detid  Christ  rests 
in  the  deep  sleep  of  death  on  his  mother’s  knees,  but  instead  of  the  usual 
saints,  Mary  has  for  attendants  two  bright-haired  angels  robed  in  red  and 
green,  one  of  whom  reverently  supports  the  head,  while  the  other  folds  his 
hands  in  silent  worship  at  the  feet  of  the  Saviour,” 

The  lunette  measures  three  feet  two  inches  high  by  six  feet  wide. 

A LIST  OF  THE  PRINCIPAL  PAINTINGS  BY  FRANCIA 
WITH  THEIR  PRESENT  LOCATIONS 

AUSTRIA-HUNGARY.  Pressburg,  Owned  by  Count  Jean  Palffy:  Madonna 
. and  Child  — Vienna,  Imperial  Gallery:  Madonna,  Child,  and  Saints  — Vienna, 
Liechtenstein  Gallery:  Portrait  of  the  Marchese  Bovio  — ENGLAND.  Hampton 
Court,  Royal  Gallery:  Baptism  of  Christ  — London,  National  Gallery:  Madon- 
na, Child,  and  St.  Anne  enthroned,  with  Saints;  Pieta  (Plate  x);  Madonna,  Child,  and 
Two  Saints  — London,  Owned  by  Dr.  Ludwig  Mond:  Madonna  and  Child  — London, 
Owned  by  the  Earl  of  Northbrook:  Holy  Family  with  St.  Anthony  — London, 
Owned  by  George  Salting,  Esg. : Portrait  of  Bartolommeo  Bianchini  (Plate  viii)  — 
London,  Owned  by  J.  E.  Taylor,  Esg. : Madonna,  Child,  and  Saints  — London, 
Owned  by  Sir  George  Otto  Trevelyan:  Madonna,  Child,  and  Saint  — Miserden 
Park,  Gloucestershire,  Owned  by  A.  W.  Leatham,  Esq.:  Portrait  of  Federigo 
Gonzaga  (Plate  vi) — FRANCE.  Chantilly,  Conde  Museum:  Annunciation  (Plate 
III)  — Paris,  Louvre:  Nativity;  Crucifixion  — GERMANY.  Berlin  Gallery:  Ma- 
donna and  Child  enthroned  with  Saints;  Holy  Family  — Dresden,  Royal  Gallery: 
Adoration  of  the  Magi;  Baptism  of  Christ  (Plate  iv)  — Frankfort,  Stadel  Institute: 
Portrait  of  a Man — -Munich  Gallery:  Madonna  of  the  Rose  Garden  (Plate  i);  Ma- 
donna, Child,  and  Angels  (Plate  ii)  — IRELAND.  Dublin,  National  Gallery:  Lu- 
crezia — ITALY.  Bergamo  Gallery,  Lochis  Collection:  Christ  bearing  the  Cross 
— Bologna,  Royal  Gallery:  Madonna  and  Saints;  Annunciation;  Madonna  and  Saints; 
Adoration  of  the  Child  (Plate  v);  Scenes  from  the  Life  of  Christ  (predella  of  an  Altar- 
piece);  Pieta;  Annunciation;  Madonna  and  Saints;  Crucifixion  — Bologna,  Archigin- 
NASio,  Library:  Crucifixion — Bologna,  Church  of  San  Domenico:  Madonna  and 
Child  — Bologna,  Church  of  San  Giacomo  Maggiore:  Bentivoglio  Altar-piece  (Plate 
vii) — ^ Bologna,  Church  of  San  Martino:  Madonna  and  Child  with  Saints  (the  frame 
of  this  altar-piece  was  designed  by  Francia)  — Bologna,  Church  of  Santi  Vitale  ed 
Agricola;  Madonna  and  Child  — Bologna,  Oratory  of  Santa  Cecilia;  Two  frescos 
representing  the  Marriage  and  the  Burial  of  St.  Cecilia  — Bologna,  Podesta  Comunale: 
Madonna  del  Terremoto  (fresco)  — Cesena,  Gallery:  Presentation  in  the  Temple  — 
Ferrara,  Cathedral:  Coronation  of  the  Virgin  — Forli,  Gallery;  Adoration  of  the 
Child  — Florence,  Academy:  Madonna  and  Child  with  Two  Saints  — Florence, 
Uffizi  Gallery:  Portrait  of  Evangelista  Scappi  — Lucca,  Church  of  San  Frediano: 
Coronation  of  the  Virgin  — Lucca,  Palazzo  Mansi:  Madonna  and  Child — Milan, 
Brera  Gallery:  Annunciation — Milan,  Poldi-Pezzoli  Museum:  St.  Anthony  — 
Milan,  The  Ambrosiana:  The  Almighty  Father — Milan,  Owned  by  Dr.  Frizzoni: 
St.  Francis — Modena,  Palace  of  the  Marchesa  Coccapani:  St.  Barbara  — Parma, 
Gallery:  Deposition;  Madonna  and  Child  with  Four  Saints;  Madonna,  Child,  and  St. 
John  — Rome,  Barberini  Gallery:  Holy  Family  — Rome,  Borghese  Gallery:  Ma- 
donna and  Child  (Plate  ix);  St.  Stephen  — Rome,  Corsini  Gallery:  St.  George — ■ 
Turin,  Royal  Gallery;  Deposition  — Verona,  Gallery:  Madonna,  Child,  and  Three 
Saints  — RUSSIA.  St.  Petersburg,  Hermitage  Gallery:  Madonna  and  Child  with 
St.  Catherine;  Madonna  and  Child;  Madonna,  Child,  and  Saints  — SCOTLAND.  Glas- 
gow, Corporation  Galleries  of  Art:  Nativity  — SPAIN.  Madrid,  Owned  by 
THE  Duke  of  Fernan  Nunez:  St.  Sebastian  — UNITFD  STATFS.  Boston,  Owned 
BY  Mrs.  John  L.  Gardner:  Madonna  and  Child  — Philadelphia,  Academy  of  the 
Fine  Arts:  Madonna  and  Child. 


[499] 


38 


MASTERS  I N ART 


jFrantia  33(l)l(ograpi)j> 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  FRANCIA 

ALEXANDRE,  A.  Histoire  populaire  de  la  peinture;  ecoie  italienne.  Paris  [1894]  — 
Amorini,  Marchese,  a.  B.  Vite  del  pittori  ed  artefici  Bolognesi.  Bologna,  1841— 
43  — Burckhardt,  J.  Der  Cicerone.  Leipsic,  1904 — Calvi,  J.  A.  Memorie  della  vita 
ed  opere  di  Francesco  Raibolini.  Bologna,  1812  — Cartwright,  J.  Mantegna  and 
Francia.  London,  1881 — Cartwright,  J.  Christ  and  His  Mother  in  Italian  Art. 
London,  1897  — Crowe,  J.  A.,  and  Cavalcaselle,  G.  B.  History  of  Painting  in 
North  Italy.  London,  1871 — Delaborde,  H.  Francesco  Raibolini  dit  Francia  (in 
Blanc’s  Histoire  des  peintres).  Paris,  1874  — Frizzoni,  G.  Arte  italiana  del  Rinasci- 
niento.  Milan,  1891 — Giordani,  G.  Catalogo  dei  quadri  della  Pinacoteca.  Bologn.i, 
1841 — Illustrated  Catalogue  of  Works  of  Ferrara  and  Bologna.  London, 
1894  — Jameson,  A.  Memoirs  of  Early  Italian  Painters.  Revised  by  Estelle  M.  Hurll. 
Boston,  1896  — Kugler,  F.  T.  The  Italian  Schools  of  Painting.  Revised  by  A.  H. 
Layard.  London,  1900  — Lafenestre,  G.  La  peinture  italienne.  Paris  [1885]  — 
Lanzi,L.  History  of  Painting:  Trans,  by  Thomas  Roscoe.  London,  1847  — Lubke,W. 
Outlines  of  the  History  of  Art.  New  York,  1904 — Malvasia,  C.  C.  Felsina  Pittrice. 
Bologna,  1841 — Mantz,  P.  Les  chefs-d'oeuvre  de  la  peinture  italienne.  Paris,  1870  — 
Mantz,  P.  Francia  (in  La  Grande  Encyclopedie).  Paris,  1886-1902 — Morelli,  G. 
Italian  Painters:  Trans,  by  C.  J.  Ffoulkes.  London,  1892-93  — Muntz,  E.  Histoire 
de  Part  pendant  la  Renaissance.  L’aged’or.  Paris,  1891  — Reid,  G.  W.  Selections  from 
the  Engravings  of  Francesco  Francia  and  of  Marc  Antonio  Raimondi.  London,  1871  — 
Rio,  a.  F.  De  Part  chretien.  Paris,  1861 — Stillman,  W.  J.  Old  Italian  Masters. 
Engraved  by  T.  Cole.  New  York,  1892  — Symonds,  J.  A.  Renaissance  in  Italy.  The 
Fine  Arts.  London,  1897 — -Vasari,  G.  Lives  of  the  Painters.  New  York,  1897  — 
Williamson,  G.  C.  Francia.  London,  1901  — Williamson,  G.  C.  Francia  (in 
Bryan’s  Dictionary  of  Painters  and  Engravers).  London,  1903—05 — WoltmaNN,  A., 
AND  Woermann,  K.  History  of  Painting:  Trans,  by  Clara  Bell.  London,  1887. 

magazine  articles 

LARTE,  1903:  L.  Douglas;  Notizie  d’Inghilterra — Athen^um,  1902:  Anony- 
t mous;  Review  of  Williamson’s  ‘Franci:i.’  1903:  J.  Cartwright;  The  Lost  Portrait 
by  Francia.  1903:  H.  Cook;  A Lost  Portrait  by  Francia  — Burlington  Magazine, 
1903:  H.  Cook;  Three  Unpublished  Italian  Portraits  — English  Illustrated  Maga- 
zine, 1895:  G.  Allen;  After  Francia  — Gazette  des  Beaux-Arts,  1862:  C.  Blanc; 
Un  tableau  de  Francia;  La  Madone  des  Guastavillani.  1896:  C.  Yriarte;  Isabella  d’ Este 
et  les  artistes  de  son  temps  (sixieme  article)  — Magazine  of  Art,  1902:  Anonymous; 
Review  of  Williamson’s  ‘Francia.’ 


[500] 


MASTERS  IN  ART 


THE 


PIANO 


The  article  value  of  a piah^  is 
not  determined  by  the  size  of  the 
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sonality which  determines  its  artis- 
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Those  desiring  to  obtain  a knowledge  of  the  principles  of  piano  conflrudion 
shouln  send  for  an  illustrated  booklet  by  Henry  L.  Mason,  entitled  “ The  Modern 
Article  Pianoforte ; its  Con^rudion.” 


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A partial  list  of  the  artists  to  be  considered  in  ‘Masters  in  Art’  during  the  forthcoming, 
1907,  Volume  will  be  found  on  another  page  of  this  issue. 

The  1907  Volume  will  begin  with 
PART  8 5,  THE  ISSUE  FOR 


31  a n u a r i> 


WHICH  WILL  TREAT  OF 


Sir  0'i)omas  Cfilyrnwr 


NUMBERS  ISSUED  IN  PREVIOUS  VOLUMES 
OF  ‘MASTERS  IN  ART’ 


VOL.  1. 

Pakt  I,  VAN  DYCK 
Part  z,  Tl  l iAN 
Part  j,  VELASQUEZ 
Part  4,  HOLBEIN 
Part  5,  BOT  ITCE l.Ll 
Part  6,  REMBRANDT 
Part  7,  REY'NOLDS 
Part  8,  MILLE  I 
Part  9,  GIOV.  BELLINI 
Part  10,  MURILLO 
Part  ii,  FRANS  HALS 
Pari  iz,  RAPHAEL 

VOL.  4. 

Part  37,  ROMNEY 

Part  38,  FRA  ANGELICO 

Part  39,  WA  FTEAU 

Part  40,  RAPHAEL’S  FRESCOS 

Part  41,  DONATELLO 

Part  4Z,  GERARD  DOU 

Part-  43,  CARPACCIO 

Part  44,  ROSA  BONHEUR 

Part  45,  GUIDO  RENl 

Part  46,  PUVIS  DE  CHAVANNES 

Part  47,  GIORGIONE 

Part  48,  ROSSETTI 


VOL.  2. 

Pari  13,  RUBENS 
Part  14,  DA  VINCI 
Part  15,  DURER 

Pari  16,  MICHELANGELO  (Sculpture) 

Part  17,  MICHELANGELO  {Painting) 

Part  18,  COROT 

Part  19,  BURNE-JONES 

Part  zo,  TER  BORCH 

Part  zi,  DELLA  ROBBIA 

Part  zz,  DEL  SARTO 

Part  Z3,  GAINSBOROUGH 

Part  Z4,  CORREGGIO 

VOL.  5. 

Part  49,  FRA  BARTOLOMMEO 

Part  50,  GREUZE 

Part  51,  DURER’S  ENGRAVINGS 

Part  5z,  LOTTO 

Part  53,  LANDSEER 

Part  54,  VERMEER  OF  DELFT 

Part  55,  PINTORICCHIO 

Part  56,  THE  VAN  EYCKS 

Part  57,  MEISSONIER 

Part  58,  BARYE 

Part  59,  VERONESE 

Part  60,  COPLEY 


VOL.  3. 

Part  Z5,  PHIDIAS 

Part  z6,  PERUGINO 

PARTZ7,  HOLBEIN’S  DRAWINGS 

Part  z8,  TINTORETTO 

Part  Z9,  PIETER  DE  HOOCH 

Part  30,  NA'I'  I lER 

Part  31,  PAUL  POTTER 

Part  3Z,  GIOTTO 

Part  33,  PRAXITELES 

Part  34,  HOGARTH 

Part  35,  TURNER 

Part  36,  LUINI 

VOL.  6. 

Part6i,  watts 

Part6z,  PALMA  VECCHIO 

PART63,  MADAME  VIGEE  LE  BRUN 

Part  64,  MANTEGNA 

Part  65,  CHARDIN 

Part66,  BENOZZO  GOZZOLI 

PART67,  IAN  STEEN 

Part  68,  MEMLINC 

Part  69,  CLAUDE  LORRAIN 

Part  70,  VERROCCHIO 

Part  71,  RAEBURN 

PAHT7Z,  FRA  FILIPPO  LIPPI 


VOL.  r 


Part  73,  JANUARY 
Part  74,  FEBRUARY’ 
PART75,  MARCH  . 
Part  76,  APRIL 
Part  77,  MAY  . 

Part  78,  |UNE  . 

Part  79,  JULY 
Part  80,  AUGUST  . 
Part  81,  SEPTEMBER 
Part  8z,  OCTOBER 
Part  83,  NOVEMBER 
Part  84,  DECEMBER 


. STUART 
DAVID 
. BOCKLIN 
SODOMA 
CONSTABLE 
METSU 
INGRES 
WILKIE 
GHIRLANDAJO 
BOUGUEREAU 
. GOYA 
. FRANCIA 


ALL  THE  ABOVE  NAMED  ISSUES 

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No  novel  in  recent  years  has  had  such  singular  success  in  winning  at  once  a wide  popularity 
and  the  enthusiastic  praise  of  the  most  discerning  critics  as  Miss  Sinclair’s  story  of  literary  life 
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